In Season Three of "Buffy the Vampire Slayer" Joss Whedon and the show's writers proved that the series could survive Buffy killing Angel. For Season Four the task was to prove that "BtVS" could survive losing Angel, Cordelia, and Wesley, who were spun off into their own film noir vampire detective series. The surprising success of their effort is displayed in "Buffy the Vampire Slayer: The Complete Fourth Season," a season that is more impressive with each viewing.
When last we left our heroes most of them had just survived graduating from high school. Now Buffy (Sarah Michelle Gellar), Willow (Alyson Hannigan), and Oz (Seth Green) are off to UC-Sunnydale while Xander (Nicholas Brendon) tries to survive in the real world and Giles (Anthony Stewart Head) twiddles his thumbs in his apartment. Instead of the "high school is hell" idea, the underlying symbolism of the season is now the brave new world of college. Buffy has moved out of the house to live in the college dorm (surprising), but with somebody other than Willow (more surprising), and is trying to move beyond Angel (sad, but not surprising). After a dalliance with Parker Abrams (Adam Kaufman), the personification of that horrible "transition" person your friends always warned you about after your first big breakup, Buffy hooks up with clean-cut Iowa farm boy Riley Finn (Marc Blucas), charming psychology graduate assistant by day, Initiative super-soldier by night.
By now we are familiar with the double-story arc structure of a "BtVS" season. For Season Four the first half story arc has to do with the mystery of the Initiative, while the second half is the confrontation with Adam. More importantly, there are several monumental character changes inspired by the desire to keep a couple of actors and the decision of another cast member to leave. Wanting to keep James Marsters around, the idea of putting that bloody chip in Spike's head, neutering the vampire when it comes to putting the bite on human beings, was a masterstroke (and, dare I say, surprising). Suddenly, Spike is a de facto Scooby. Meanwhile, with Emma Caulfield sticking around as Anya, she becomes the show's comic relief in place of her boyfriend Xander. Then, when Seth Green left the show to concentrate on films, what we thought was an offhanded comment in "Doppelgangland" suddenly comes to fruition for Willow when she meets Wicca wannabee Tara (Amber Benson). All of these changes end up having much more significant impacts on the show than the addition of Riley Finn as Buffy's new love interest.
Season Four begins with a lot of interpersonal issues, from trouble with dorm mates ("Living Conditions") to getting dumped ("The Harsh Light of Day," "Wild at Heart"), before getting caught up in the mystery of all those soldier types running around the campus in the dark ("The Initiative"). Buffy and Riley finally discover the truth about each other in the landmark episode "Hush," the only episode ever to earn Joss Whedon a well deserved Emmy nomination for Best Writing of a Drama (insert outrage over snubs of "The Body" and "Once More With Feeling" here, please). The second half of the season finds Riley learning to work with Buffy ("Doomed") and Buffy enjoying working with the Initiative ("A New Man") before Professor Maggie Walsh (Lindsay Crouse) tries to kill her ("The I in Team") and her stitched together uber-demon Adam (George Hetzberg) breaks free and sets up the final confrontation ("Primeval").
Ultimately, the strength of a season is judged by the episodes that are essentially off the main story arcs. For Season Four this means a Halloween episode with one of the best punch lines ever ("Fear, Itself"), the great Buffy and Faith mind-switch ("This Year's Girl" and "Who Are You?"), the discovery that the coolest and most important in the world is Jonathan Levenson ("Superstar"), and the hilarious insanity of Willow's wish list ("Something Blue"). Of course on that last episode once again the joke is on us as the alternative reality give us a preview of what is to come down the road. One of the most unique aspects of this season was that the climatic battle with the year's big bad happens in the penultimate episode and the season finale, "Restless," serves as an actual epilogue as Buffy and friends encounter the First Slayer (Sharon Ferguson), and sets the stage for significant develops to come.
The fact that Season Two ended with the greatest episode ever of "Buffy the Vampire Slayer" in "Becoming, Part II," when Buffy has to kill Angel to save the world, obscures the fact that on balance Season Three and Season Four were both stronger seasons overall. The operatic finales might not reach the same heights, but the lows are higher and the on average score is higher. The worst episode of Season Four is probably the season premier, "The Freshman," which suffers because like all first episodes in a season of "BtVS" the goal is to have Buffy rededicate herself to being the Slayer so that new viewers can feel like they understand the gig. If anything, Season Four reaffirms that the strength of this show is character development and not just vampire slaying.
Final Comment: It is nice to see that the extras for Season Four contain twice as many commentary tracks as we have been privy to for each of the previous three collections. In a perfect world it would be great if all of the episodes had commentary, provided by shifting tag-team combinations of writers and actors, in the tradition of the very early episodes of "Farscape" on DVD, but I have long had the feeling that the cast of "BtVS" is rather intimidated by the encyclopedic knowledge of the show enjoyed by its fan base.
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Buffy the Vampire Slayer - The Complete Fourth Season
Sarah Michelle Gellar
(Actor),
Nicholas Brendon
(Actor),
David Grossman
(Director),
David Solomon
(Director)
&
1
more Rated: Format: DVD
PG
IMDb7.5/10.0
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| Format | Closed-captioned, Full Screen, Color, NTSC |
| Contributor | Sarah Michelle Gellar, Tucker Gates, Michael Gershman, Adam Kaufman, David Grossman, Clayton J. Barber, Roger W. Morrissey, James A. Contner, Alyson Hannigan, Nick Marck, Anthony Stewart Head, Seth Green, Dagney Kerr, Paige Moss, Walter Borchert, Joss Whedon, Michael Lange, Nicholas Brendon, David Tuchman, David Solomon See more |
| Language | English, Spanish |
| Number Of Discs | 6 |
| Runtime | 16 hours and 30 minutes |
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1 Star
Busted Discs
I bought this a few years ago and am only just now opening and watching...or /trying/ to watch, that is. What I've come to discover in my attempted rewatch of this brilliant show is that some of the discs are completely busted. They are scratched to all hell and cannot be watched. I'm absolutely livid that I was sent a faulty product. By just glancing over these discs, it'd have to be evident that they wouldn't work. Good condition, my ass.It's undoubtedly far too late to get a refund. That's fine. But I had to let it be known unusable products were sent.

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Reviewed in the United States on April 16, 2003
Reviewed in the United States on June 25, 2004
It is a year that contains some of the show's best-ever episodes ("Hush," the two-part return of Faith, "Superstar" and the astonishing "Restless"), and its very worst (two words-- Beer. Bad.). Narratively, the overall arc is probably the show's weakest, but on a technical level, the show has arguably never looked or sounded better than it does here, as Buffy's secret weapons-- cinematographer extraordinaire Michael Gershman and composer Christophe Beck-- reach new levels of sophistication. Right off the bat, the show loses three of its most intriguing and popular characters (to spinoffs like ANGEL and movie deals), yet the ensemble acting grows tighter and tighter as the season progresses. College is not always a clean fit, for the characters or the show, but by the end of the season, the stage is set for a two-season arc that will prove to be the show's most difficult, complex and rewarding.
Season Four is the great, big, baggy season of the BuffyVerse, a sprawlingly ambitious and occasionally incoherent year that nevertheless maintains a surprisingly high level of quality throughout. As the comments above suggest, it is a paradoxical, transitional year, the bridge between the more popular, streamlined high school stories, and the knottier complexities of seasons five and six. It arrived at the crest of Buffy's popularity and media profile, and to a significant degree, it continues the witty perspective the show developed in season three, but its black DVD casing (and the eerie, Barbie-Doll-in-space expression of Sarah Michelle Gellar on the boxfront) also hints at a creeping darkness that will become more intense as the series progresses. Not everything in the season works, and some of the elements introduced this year (such as Tara) make more sense as they develop in future seasons, but give the producers credit: just as Buffy finds that she has to adjust to new surroundings, friends, and adventures, the show's creators recognized that, in order to tell stories in this new setting, their style had to change. In the words of a supporting character on the show's spin-off, ANGEL, "High school's over-- time to make with the grown-up talk."
That "talk" would consist of a darker look, full of grays and blues and velvety-rich shadows; a more expressive style of camerawork, with longer takes and flowing tracking shots; a more skillful and fluid integration of pop songs into the storylines; daring editing that, along with the darker storylines and the eerie sets of The Initiative, nudge the show towards the funkier tones of seasons five and six; and, of course, the words.
It's still WhedonSpeak (regardless of who's writing it), full of pop and zing, funny references, slapstick that shifts without warning into tragedy or romance (or both at once), and it's still as generous as ever towards all its characters, but it's stretched here, along with the characters whose adventures it delineates. It's a bit more melodramatic, occasionally more somber, and even more ambiguous than in previous years. We're not always sure of character motivations, or what certain bits of dialogue mean, we're not always cognizant of why certain plot twists occur, and certainly the finale asks as many questions as it answers. Like a freshman experimenting with lots of styles and viewpoints in her first year, BUFFY Four takes risks, some of which are disastrous (I repeat-- beer. bad. Really, *really* bad), but many of which pay incredibly rich dividends, here and down the road.
Every season of Buffy contains at least one plot twist, but Season Four throws them at its audience like fast-balls: between the final episode of Season Three and the tenth episode of Season Four, the show has made itself over to a significant degree-- still Buffy, but Buffy 2.0. Since I don't want to spoil any of this for the Season Four newbie, I will try to give a sense of these changes by zeroing in on the character most at sea this year (and, to my mind, the show's best character): Giles. Compared to the tweedy, somewhat imperious Giles of Season One, this one seems adrift, confused-- and very, very funny. Whether answering the door on Halloween in a too-large sombrero, carving into haunted frat houses with a chainsaw, playing "Hugh Hefner" (in Buffy's words) with his new girlfriend, or imbibing far more scotch than a watcher really should before battle, Giles (and his real-life alter ego, Anthony Stewart Head) is nothing less than a delight here. That the show would even keep a high school librarian as a character after graduation speaks to how different BUFFY was from the various teen clones that surrounded it on the WB. To put it simply, BUFFY was a show about teenage- and adulthood, not a "teen show." It could make the transition to a post-high school world in a way that 90210 or DAWSON's CREEK could not because the perspective and voice of its writers-- that of older folks looking back with sympathy and horror-- was far more ironic, generous and complex than those of other shows (it might have filmed on 90210's old high school sets, but it was not stuck on them). It didn't condescend to teens, and while it certianly loved them, didn't feel the need to cater to the prevelent cultural fantasy that life is never better than at 16. Giles fits in here (or rather, is stuck in the same kinds of confusion as the younger characters) because BUFFY chooses to treat all of its characters-- be they a confused young slayer, an unemployed, living-with-parents slacker, a confused werewolf, a sexually ambiguous witch, an ex-vengeance demon, a murderer in a coma, an empty-nesting mother, a grad student supersoldier, an ambitious scientist, an unemployed librarian, or a neutered vampire-- with a respect and well-roundedness that is rare on contemporary television. Grown-up talk, indeed.
Season Four is the great, big, baggy season of the BuffyVerse, a sprawlingly ambitious and occasionally incoherent year that nevertheless maintains a surprisingly high level of quality throughout. As the comments above suggest, it is a paradoxical, transitional year, the bridge between the more popular, streamlined high school stories, and the knottier complexities of seasons five and six. It arrived at the crest of Buffy's popularity and media profile, and to a significant degree, it continues the witty perspective the show developed in season three, but its black DVD casing (and the eerie, Barbie-Doll-in-space expression of Sarah Michelle Gellar on the boxfront) also hints at a creeping darkness that will become more intense as the series progresses. Not everything in the season works, and some of the elements introduced this year (such as Tara) make more sense as they develop in future seasons, but give the producers credit: just as Buffy finds that she has to adjust to new surroundings, friends, and adventures, the show's creators recognized that, in order to tell stories in this new setting, their style had to change. In the words of a supporting character on the show's spin-off, ANGEL, "High school's over-- time to make with the grown-up talk."
That "talk" would consist of a darker look, full of grays and blues and velvety-rich shadows; a more expressive style of camerawork, with longer takes and flowing tracking shots; a more skillful and fluid integration of pop songs into the storylines; daring editing that, along with the darker storylines and the eerie sets of The Initiative, nudge the show towards the funkier tones of seasons five and six; and, of course, the words.
It's still WhedonSpeak (regardless of who's writing it), full of pop and zing, funny references, slapstick that shifts without warning into tragedy or romance (or both at once), and it's still as generous as ever towards all its characters, but it's stretched here, along with the characters whose adventures it delineates. It's a bit more melodramatic, occasionally more somber, and even more ambiguous than in previous years. We're not always sure of character motivations, or what certain bits of dialogue mean, we're not always cognizant of why certain plot twists occur, and certainly the finale asks as many questions as it answers. Like a freshman experimenting with lots of styles and viewpoints in her first year, BUFFY Four takes risks, some of which are disastrous (I repeat-- beer. bad. Really, *really* bad), but many of which pay incredibly rich dividends, here and down the road.
Every season of Buffy contains at least one plot twist, but Season Four throws them at its audience like fast-balls: between the final episode of Season Three and the tenth episode of Season Four, the show has made itself over to a significant degree-- still Buffy, but Buffy 2.0. Since I don't want to spoil any of this for the Season Four newbie, I will try to give a sense of these changes by zeroing in on the character most at sea this year (and, to my mind, the show's best character): Giles. Compared to the tweedy, somewhat imperious Giles of Season One, this one seems adrift, confused-- and very, very funny. Whether answering the door on Halloween in a too-large sombrero, carving into haunted frat houses with a chainsaw, playing "Hugh Hefner" (in Buffy's words) with his new girlfriend, or imbibing far more scotch than a watcher really should before battle, Giles (and his real-life alter ego, Anthony Stewart Head) is nothing less than a delight here. That the show would even keep a high school librarian as a character after graduation speaks to how different BUFFY was from the various teen clones that surrounded it on the WB. To put it simply, BUFFY was a show about teenage- and adulthood, not a "teen show." It could make the transition to a post-high school world in a way that 90210 or DAWSON's CREEK could not because the perspective and voice of its writers-- that of older folks looking back with sympathy and horror-- was far more ironic, generous and complex than those of other shows (it might have filmed on 90210's old high school sets, but it was not stuck on them). It didn't condescend to teens, and while it certianly loved them, didn't feel the need to cater to the prevelent cultural fantasy that life is never better than at 16. Giles fits in here (or rather, is stuck in the same kinds of confusion as the younger characters) because BUFFY chooses to treat all of its characters-- be they a confused young slayer, an unemployed, living-with-parents slacker, a confused werewolf, a sexually ambiguous witch, an ex-vengeance demon, a murderer in a coma, an empty-nesting mother, a grad student supersoldier, an ambitious scientist, an unemployed librarian, or a neutered vampire-- with a respect and well-roundedness that is rare on contemporary television. Grown-up talk, indeed.
Top reviews from other countries
Jenjn
5.0 out of 5 stars
Excelente serie
Reviewed in Mexico on February 16, 2020
Me encanta Buffy muy a pesar que la 4ta temporada me parece un tanto lenta y sosa, sin embargo amo la serie y es “vital” tenerla completa
AddieTude
5.0 out of 5 stars
S4 of Buffy a Must-Have!!
Reviewed in Canada on August 3, 2018
As Buffy & Willow head to college, Oz makes a decision to leave town & Xander tackles a variety of odd jobs throughout the season while paying to rent his parent's basement. With Angel and Cordelia on their own show now, Buffy introduces us to Riley, Tara and brings former vengeance demon Anya back as a series regular.
S4 has several incredible episodes & character's: Cathy, Buffy's annoying dorm roommate, Sunday, a campus Vampire out to soil Buffy's reputation, & Adam; the season's big bad (part man, part monster, part machine).
S4 has several incredible episodes & character's: Cathy, Buffy's annoying dorm roommate, Sunday, a campus Vampire out to soil Buffy's reputation, & Adam; the season's big bad (part man, part monster, part machine).
Isabelle
5.0 out of 5 stars
The season that gave us Hush and Restless
Reviewed in the United Kingdom on July 10, 2002
There was a lot of criticism about season 4, mostly from fans who didn't like the change in the Buffy formula and Angel and Cordelia's departure. Buffy couldn't be a schoolgirl for ever and season 4 introduces us to the challenges of becoming a young adult, living in a dorm, falling in and out of love, exploring sexuality, facing an insecure future.
This is a difficult year for Xander, desperate to escape his parents basement and trying to keep up with his college-going friends and Giles, who loses his job.
We are introduced to the lovely witch Tara, whom Willow falls in love with. When Willow's ex Oz comes back in 'New Moon Rising' he discovers she's not waiting for him and this brings pain to all concerned.
Xander's girlfriend, ex-demon Anya, brings fun to the show with her ignorance of society's rules and her rude behaviour.
Bad guy Ethan Rayne is back in 'A New Man' and rogue slayer Faith in the excellent 'This Year's Girl' and 'Who Are You'.
There is an episode centred on Jonathan (the student who tried to kill himself in season 3), the very enjoyable 'Superstar'.
Buffy's new love interest is Riley, a soldier in the Initiative, a secret government organisation hunting and experimenting on demons.
I didn't particularly like the Initiative/Adam storyline but looking back, this was probably the best Buffy season ever with strong episodes as well as good storylines in the background.
Spike is back with a twist as a conflicted, 'neutered' vampire with a chip stopping him from hurting humans. This season sees him trying to find his new place in the world. Spike's situation brings humour to this season when he teams up with Harmony and while he lives with Giles and then Xander.
This introduces a new aspect of Giles character, for the first time we see his paternal feelings towards Spike.
'Hush' has the scariest villains in the form of the gentlemen and an excellent storyline never done before in a TV series.
'Restless' is outstanding, a must-see for any Buffy fan including Joss Whedon's commentary.
Buffy's writers have always enjoyed teasing the fans with clues as to what will happen next and Season 4 is particularly strong on this. There is foreshadowing of major storylines in both season 5 and season 6. All Buffy fans need this DVD set!
This is a difficult year for Xander, desperate to escape his parents basement and trying to keep up with his college-going friends and Giles, who loses his job.
We are introduced to the lovely witch Tara, whom Willow falls in love with. When Willow's ex Oz comes back in 'New Moon Rising' he discovers she's not waiting for him and this brings pain to all concerned.
Xander's girlfriend, ex-demon Anya, brings fun to the show with her ignorance of society's rules and her rude behaviour.
Bad guy Ethan Rayne is back in 'A New Man' and rogue slayer Faith in the excellent 'This Year's Girl' and 'Who Are You'.
There is an episode centred on Jonathan (the student who tried to kill himself in season 3), the very enjoyable 'Superstar'.
Buffy's new love interest is Riley, a soldier in the Initiative, a secret government organisation hunting and experimenting on demons.
I didn't particularly like the Initiative/Adam storyline but looking back, this was probably the best Buffy season ever with strong episodes as well as good storylines in the background.
Spike is back with a twist as a conflicted, 'neutered' vampire with a chip stopping him from hurting humans. This season sees him trying to find his new place in the world. Spike's situation brings humour to this season when he teams up with Harmony and while he lives with Giles and then Xander.
This introduces a new aspect of Giles character, for the first time we see his paternal feelings towards Spike.
'Hush' has the scariest villains in the form of the gentlemen and an excellent storyline never done before in a TV series.
'Restless' is outstanding, a must-see for any Buffy fan including Joss Whedon's commentary.
Buffy's writers have always enjoyed teasing the fans with clues as to what will happen next and Season 4 is particularly strong on this. There is foreshadowing of major storylines in both season 5 and season 6. All Buffy fans need this DVD set!
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Sébastien Gagnon
5.0 out of 5 stars
Très bon
Reviewed in Canada on February 4, 2021
Bon produit
M
5.0 out of 5 stars
Producto nuevo
Reviewed in Mexico on February 22, 2017
En realidad la retroalimentacion va para el estado en el que se encontro el producto ya que la serie pues es en gusto de cada quien, todo llego en orden, nuevo.


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